Can a great play also be not entirely good? I ask this because the question kept wandering around my head as I watched and listened to--and watched and listened to and watched and listened to--Robert Falls's 2012 production of Eugene O'Neill's (classic?) The Iceman Cometh for Chicago's Goodman Theatre. It's finally reached the Brooklyn Academy of Music.
This playgoer's memory of A. R. Gurney's Love Letters -- the 1988 two-character play consisting of letters between an upper crust boy-turned-man and girl-turned-woman, performed without memorization or blocking by a middle-aged pair of star actors -- is of an amusingly entertaining but slight affair.